Hey there everyone, our blog’s going to get less active over the upcoming two months as I’m away at a camp and will struggle to approve new posts quickly. We’re going to return at full force soon though, so stick with us and enjoy your summer!
Hey there everyone, our blog’s going to get less active over the upcoming two months as I’m away at a camp and will struggle to approve new posts quickly. We’re going to return at full force soon though, so stick with us and enjoy your summer!
Modest Mouse’s name today is often associated with their most successful single “Float On” from their 2004 album Good News For People Who Love Bad News, something that frustrates basically every Modest Mouse fan out there. This is because before the radio airplay Modest Mouse was still an extremely relevant band within the Alternative Rock genre, with This Is A Long Drive For Someone With Nothing To Think About proving to be an extremely successful debut album and their third album The Moon And Antarctica fascinating many music critics and showcasing a lighter sound alongside the philosophical thoughts about religion and creation which Brock had to offer. These early albums were both created with the “classic” Modest Mouse lineup that featured Isaac Brock on vocals and guitar, Eric Judy on bass and Jeremiah Green on the drums, an extremely consolidated lineup but one that had tremendous range and capability. This is why although many point to The Moon and Antarctica as their best album, my personal favorite is their 2nd album, The Lonesome Crowded West, which captures the wide range of sounds the band is capable of and defined them as a premiere alternative rock group of the era. The album sometimes gets viewed as a concept album because of the recurring themes of both the destruction of the west to build mini-malls and religious topics, but those are really common Modest Mouse topics that the band uses on many of their tracks outside of LCW as well, so it’s a bit of a misguided label.
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Sometimes I sing along to Joe Jackson songs in my car.+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-
MY guilty pleasure is definitely the Crash Test Dummies, a really great, underrated kind of cheesy band from the 90′s. They are kind of country, kind of poppy and something my parents listen to. Maybe not exactly a guilty pleasure because they have a pretty unique sound and are actually talented but some of the music is kind of quirky and fluffy pop. It’s my jam+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-
It makes no sense, their first album was great and it was all down hill from there. But for some reason I pretty much know every lyric to every song on every album. Who am I kidding, I’m Fall Out Boy’s #2 fan (some 14 year old girl is #1).
A lot of the albums that I’ve given the “essential” label represent a sound that’s proven to be influential and innovative, so that knowing their place within alternative music is important for the sake of understanding the genre. By this definition Kill the Moonlight by Spoon doesn’t fit in with the category because it didn’t change much of anything; but it’s still a must-listen album because of how easily lovable it is and it’s role of representation for a band that doesn’t get enough love in my opinion. Metacritic named Spoon the top artist of the 2000′s because of how consistently great their records were, and I still firmly believe that Britt Daniel has the coolest voice that you’ll find in the genre, but Spoon is rarely mentioned among the elite alt-rock bands from the past decade for some reason. That’s why Kill The Moonlight is extremely important, within a terrific discography this is the album that has an iconic claim to it and will likely define the career in the future of a band who deserves to be remembered.
I was to young to experience 90′s college rock as it was occurring, but in hindsight it’s easy to see that a new alternative rock sound emerged with bands like The Pixies, Pavement, Built to Spill, Archers of Loaf, The Smashing Pumpkins, Guided By Voices, Dinosaur Jr. and Modest Mouse all helping to define it. The Pixies had already had an extremely popular release with the album that some view as their best in their debut Surfer Rosa, but it’s their 1989 release Doolittle which holds that title for me with no hesitation. I’m a believer that Doolittle is one of the best albums ever made within alternative rock, which had me questioning if it was worthy of covering here since I’m under the impression many will already be aware of it. If you aren’t, then this post is for you and you’ve got some listening to do.
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Alternative music usually just receives the label because the songs are aimed at to narrow of an audience for the mainstream radio to play. This isn’t meant as a slight towards the genre, which is basically the only thing I listen to, but the casual listener really just wants something to be immediate and catchy along with a chorus that they know. This is where a lot of the best alternative music emerges, when a band does provide the immediacy of pop/rock cravings but they decide to intentionally fuck it up a bit for their own brand of unique experimentation. This is the best way I can describe what The Unicorns do, and it’s why they’ve become such a wildly popular band for alternative music fans who can appreciate these aspects; the broken voices, the perfectly out of place flute/recorder(?) solo, and the randomness which ultimately morphs it’s way into the songs’ rhythm. These qualities define The Unicorns just as much as the catchy choruses, and Who Will Cut Our Hair When We’re Gone is undoubtedly the album that captured the band’s gigantic potential the best.
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Skate & Surf Festival made its return this spring after John D, the founder of The Bamboozle Festival, announced that Bamboozle wouldn’t be making a return in 2013. When the details about Skate & Surf were announced, the main attraction would be Fall Out Boy headlining the festival after their four year hiatus. Along with Fall Out Boy, some other bands played at the smaller stages who have been nothing short of phenomenal.